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3«шшэшшм-шгмаи жш / philological sciences
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PHILOLOGICAL SCIENCES
УДК 821(091)
Mammadrzayeva Ayshan Allahverdi gizi Post graduate student of Baku Eurasia University DOI: 10.24412/2520-6990-2023-16175-29-32 REFLECTION OF ARTISTIC TIME IN HISTORICAL WORKS
Мамедрзаева Айшен Аллахверди кызы
Диссертант Бакинского Евразийского Университета
ОТРАЖЕНИЕ ХУДОЖЕСТВЕННОГО ВРЕМЕНИ В ИСТОРИЧЕСКИХ ПРОИЗВЕДЕНИЯХ
Abstract.
The article examines the concept of time in historical novels. The change of time in contemporary literature, the difference between epic time and real time has been investigated, and how the historical space is reflected in epic time has been investigated. This article examines the historical works of many writers, and the issue of historical time and epic time is discussed in those mysteries. The effect of achronic (chronological violation) time, which rarely occurs in historical novels, has been studied in this type of works. Time exists at any moment for any work. Space without time, time without space, work without time and space does not exist. These two concepts are always in mutual contact with each other. The events in the work can happen at any time, but the time difference occurs when the work is being written. And there is a difference between the time of the writer and the time of events. This issue is also reported and investigated in the article.
Аннотация.
В статье исследуется понятие «время» в исторических романах. Исследована смена времени в современной литературе, отличие эпического времени от реального, а также способ отражения исторического пространства в эпическом времени. В данной статье рассматриваются исторические произведения многих писателей, и в этих произведениях были сопоставлены историческое и эпические времена. В произведениях подобного типа изучен эффект ахронности (хронологического нарушения) времени, редко встречающегося в исторических романах. В любом произведении время всегда присутствует. Не существует произведения без понятий - Пространство без времени, время без пространства, работа без времени и пространства. Эти два понятия всегда находятся во взаимном контакте друг с другом. События в произведении могут происходить в любое время, но разница во времени возникает, когда записывается произведение. И возникает разница между временем писателя и временем событий. Эта проблема также освещается и исследуется в статье.
Keywords: history, time, place, modern time, historical time
Ключевые слова: история, время, место, современный период, исторический период
Historical texts convey the human truths of the time to the reader with a high level of richness. When presenting this, the writers use the possibilities of artistic interpretation of historical thought, dominant symbols, facts and manifestations of the time. The most important force that saves historical thinking from mediocrity is the expression of the spirit of the time, which gives the expression a full and attractive form. Time is the most important of the signs that create historical reality in works. A writer cannot ignore the element of the time when describing the past. In this regard, we get to observe the artistic interpretation of different times of the history in tens of works such as Ch. Huseynov's "Fatali Fathi", "Doctor N", Y. Samadoghlu's "The day of the murder", Elchin's "Mahmoudand and Maryam", "Death Sentence", F.Karimzade's "The Honor of Tabriz", F. Eyvazli's "Gachag Karam", A. Nijat's "Years turned into song", A. Jafarzade's "My Rubabe Sultan", D. Nasib's "Javanshir", "A Country without Javan-shir", M. Ismayilov's "Gara Yusif", "Uzun Hasan", G. Sadigzade's "Last destination was Khazar", N. Ab-dulrahmanli's "The Messenger of the Heart", "Tajli", S. Rustamkhanli's "Peak of the Death", "Poet and
Evil", "Devotees", M. Chamanli's "Death Angel" and others.
The chronology of time is reflected in different and various ways in these works. Unlike the subject and the plot, the writer sometimes has to write the exact time to reach the figurative expression in the work. Each author records the same historical period at a different time and in a different way. It is possible to observe different time trends in Yusif Samadoglu's novel "The Day of the Murder", which spans three periods. Literary critic T. Salamoglu writes about time sections, one of the elements that strengthen history in the novel: "Distinguishing the time sections in each novel is one of the important conditions, as it makes the time of events concrete, saves the images from abstraction. On the other hand, it clarifies the plot and composition of the work, and allows us to understand the development dynamics of events and characters. The concretization of time sections also brings clarity to the novel's system of images. In Y. Samadoglu's novel "The Day of the Murder", the resonance of the past with the present, and the transfer of ideas to the future are among the moments that strengthen the poeticism of the work [92,
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p. 232]. The events described in the novel "The Day of the Murder" reflect reality and express hope for the better future. In order not to repeat what happened in the past, the past real and the unreal time instills a sense of belief in the future being unreal. In the last scene of the novel, after the prayer recited for the man whose wife dreamt of him, the man tells the readers such an idea: "I, oh men, from now on, I will not come to anyone's dream!... I swear to God, the dead want to do good work" [9, 188]. The people who died in the work want to be remembered by their loved ones as they knew them. The novel "The Day of the Murder" reflects the tragedy of 1937 and says no to war in the future. The main role of time here is that these events can happen at any time and this is reality. A young person who misjudges their time has to say goodbye to life very early, although it could have been the other way around. The periodical time coordinates (time of day) and temporal indicators, precisely defined to talk about the historical period shown in the novel, serve as a form of concreti-zation of artistic time in the novel. It is important for the writers to show the special lives of the heroes behind the historical time. Therefore, they should also reflect the time of the heroes. Heroes come out to participate in the historical period. The time that belongs to them should fit their identity so that they can achieve what they want. Poetic time and real time should take place in parallel, events should be poeticized without removing them from reality, and the writer should place the heroes in this time. Historical time is different from other times. The main criterion is the development of events on a line that will not depend on any time.
Ch. Huseynov describes the problem of artist and time in the novel "Fatali Fathi". Although the novel is dedicated to the life of M.F. Akhundzadeh and follows the documentary principle, this novel cannot be identified as a biographical novel. The writer used the possibilities of artistic imagination and also the richness of the time category by giving space to surreal images with his unique style of elaboration. The novel reflects not only the spirit of M.F. Akhundzadeh's time, but also the spirit of modern times. Although the writer based his work on documents, he also used documentary fantasy. In other words, Akhundzadeh, whose future is known, has looked into the past. In particular, Tsar Nicholas-Fatali Akhundov, Fatali-Sheikh Shamil lines in the work are the product of the writer's artistic imagination. Perhaps neither Tsar Nicholas nor Sheikh Shamil knew Fatali or heard his name. However, the writer, acting from the spirit of the time, wanted to give the spirit of the artistic time by developing these two lines in the novel. The writer also synthesizes the events that come to life in his memories with the situation witnessed by his hero and succeeds in combining the three times by including his own modern interventions. Ch. Huseynov tries to reveal the meaning and content of the era in the impressions revived in the memory of his hero. The division of his homeland into two parts, was one of the issues that preoccupied the hero the most. The writer very correctly shows his hero at the center of historical events and describes the conflicts, betrayals and treachery between the khanates of Ganja, Shaki, and Shirvan during this period. Of course, in order to
reflect the spirit of the time, the murder of Tsitsianov, the agreements of Gulustan and Turkmanchay that divided Azerbaijan into two, and the colonial policy cannot be ignored. The writer constantly tries to express the feelings that live in Akhundzadeh's heart, describes his dreams. It is clear from these dreams that Fatali is actually a patriot who always thinks of his homeland and people, despite carrying a shoulder mark of the Russian Empire on his shoulders. Even patriotic to the extent that these dreams and thoughts determine his tragedy. If young Fatali had a lot of trust in the tsar for the welfare of his people, he thought about overthrowing him in the end. But how: "Who can knock down this dragon?" - (He meant the Tsar). - The French? The English? The German?... No one could defeat him" (5, p. 20).
Ch. Huseynov's description of Fatali in this way was born from reality. A philosopher and thinker who describes social relations, unfairness, injustice, and democracy in his works could not be a thinker and philosopher without thinking about it. Despite writing about historical events or historical figures related to the writer Akhundzadeh, the author also uses his imagination. The writer's often changing artistic imagination, fiction, dream, grotesque and symbols create a unity of documentary and fiction. Critic A. Huseynov highly appreciated this unique aspect of the novel and the change of time and wrote: "...in our prose, no writer or historical figure has been discussed on the basis of such specific information and rich documents. Chingiz Huseynov demonstrates a high level in this regard, and we believe that his work will not be insignificantfor our literature as an example" (4, p. 186).
Sometimes in historical novels, the historical reality is replaced by imaginary reality, it is continued by using any historical fact to write a historical novel, but here the writer does not have to stay on the exact facts. Historical facts, of course, have unconfirmed, unspecified aspects that create gaps, and the imagination of the writer of this novel fills those gaps with his assumptions and understanding. One cannot disagree with Nobel laureate Orkhan Pamuk's opinion that: "The most beautiful thing in history is missing such facts. History is abstract since its inception" [10, 82]. There are many facts that the writer pays attention to when writing a historical novel, but he cannot include the customs, laws, and lifestyle of the past in the work as it is. He chooses only the facts he needs, improves them, adds his own artistic ideas and shapes the work. If the artistry manifests itself in the historical novel, it is based on historical reality. In other words, in every historical novel, the description of the past era is in the center. In A. Nijat's novel "A Life Turned to Song", it can be said that artistic imagination leads more than historical reality. The writer-philosopher chooses the poet Mirza Shafi Vazeh as the protagonist of the novel. However, this choice does not determine Vazeh's life to be described chronologically. The writer is more interested in the fate of Vazeh and takes the Ganja period of his life and the events that happened to him when he was still young, his love affairs, teaching out of necessity and other events. Here the writer presents the dialogue between the young poet Vazeh and time, the problem
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of human and society. As it can be observed, like other historical novels, while creating the image of Mirza Shafi, the writer still shows him as a poet and an ordinary person. Fate meets him with Zuleikha, the daughter of Ibrahim Khan, one of the wealthy people of Ganja. The description of events shows Mirza Shafi as a lover. However, his relationship with Zuleikha does not remain unaffected in his later life. So, this love of Mirza Shafi, who kidnapped her at the insistence of Zu-leikha, ended in failure, Ibrahim Khan's men caught him on the road and took Zuleikha from him. As it can be seen, there is no history in the name of the work dedicated to a simple love affair. The writer took only the youth of Mirza Shafi and described the poet as a lover, taking it out of the historical context as a poet. Apparently, that is why it has been criticized by literary critics. Disagreeing with the writer's image of Mirza Shafi, M. Aliyev wrote in his article named "Adventurism instead of history" where he did not call the work a historical novel about the life of Mirza Shafi: "If this work was not a historical novel about the life of Mirza Shafi, but an ordinary story about the love of two young people, perhaps its flaws would not be visible...
We see Shafi introduced as a poet in only two cases, both at a party at Ibrahim Khan's house" (3, p. 6).
Of course, the critic's remarks have some right sides. That is why the writer returned to this work in the 80s and worked from the aspect of historical time in the novel "Mirza Shafi". The writer mentions Mirza Shafi's relations with personalities such as M.F.Akhundzadeh, A.Bakikhanov, Friedrich Bodenstedt in his life in Tbilisi. But here again, the writer's lyrical incitement, the poet-hero's poetic view of the events determines the artistic time rather than the historical time.
Contemporary historical novels manifest themselves differently in terms of time; distorted tenses can also be found here. In this period, the trend towards documentary is increasing, historical thinking focuses more on historical-realist, historical-romantic, historical-essay types. Critic, literary scientist T. Salamoglu, while studying the historical novel, also commented on two more types: "...Although the fourth documentary is a condition for the historical novel, it is necessary to correctly reflect the spirit of the historical period. The artist may not refer to historical documents, events and personalities in his work, but if the content, meaning and essence of the work correctly reflect the spirit of the historical period, these works can also be called historical works.
The fifth type: works written on a historical theme in the last period show such qualities that they go beyond the traditional ideas about the specifics of the historical novel, and this necessitates a classification within the genre [8, 156].
These types show themselves in different ways in different novels. For example, A. Jafarzade's "Baku-1501", F. Karimzade's "Khudafarin Bridge", A. Nijat's "The Gizilbash" are more suitable to the historical-romantic type. In the novel "Baku-1501" by A. Jafarzade, based on the events of Shah Ismail's Shirvan march and the capture of Baku, history is actually reflected in the title of the novel and the events that took place on this
date. In the center of the novel is the fate of Shah Ismail, the abundance of information about fire worshipers, dervish and religious sects, the misfortunes that happened to Aytakin, the only surviving representative of the completely destroyed tribe, etc. determined the writing of the novel in a historical-romantic style.
Khatai's words "Our heroic grandfathers entrusted you three things: our language, our zeal, our Motherland..." are the words of the author's idea expressed in the language of the hero in a clear and romantic way. A. Nijat's novel "The Gizilbash" written in the same period is also dedicated to Shah Ismail. However, in the novel, the writer highlights four events that play an important role in the life of his hero - the events of Gilan, Shirvan, Tabriz and Chaldiran. A. Nijat's hero also sounds romantic, being rooted in historical thinking: "Whoever wants to save our homeland from the clutches of oppression, let them join us. Whoever wants to shed their blood for the throne of Azerbaijan, whoever wants to be a martyr on the path of Ali, let them come" (7, p. 73). These works are written according to the romance of the poet rather than the historical facts. Khatai conquers the lands he conquers not by his fighting power, but by his mind. The contrast between Shah Ismail's era and the time when the novel was written cannot overshadow the writer's idea of application in the work. If we know that the work was written in 1980, Shah Ismail's words "After all, our homeland is free and united!" What else do we need... from today the world will recognize a new state: Azerbaijan" [2, p. 174] do not correspond to the ideology of the current system, nevertheless, the writer is distinguished by his courage The writer demands the idea of unity and freedom of this people and nation in the context of the time of Shah Ismail.
One of the main characteristics of historicity in literary prose is that the reader feels like a witness to the events while reading the work. Mahmud Ismayilov's "Between Two Fires", "Gara Yusif", "Uzun Hasan", Ashraf Ibrahimov's "Sultan Mahammad", A. Jafarza-deh's "From Land to Land", "Zarrintaj Tahira", Gumral Sadiqzadeh's "The Last Destination was Khazar", Sabir Rustamkhanli's "Poet and Evil", "The Peak of Death", Jalil Javanshir's novel "The Lost Manuscript" treats historical information not from the context of history, but from the time context of its era. You think that the events related to the state of Shirvanshahs, as well as the past of Khachmaz region, happened not in the 14th century, but in the 20th century. This makes the novel far from historicity.
The time of historical events is older than the time of the writing of the work. The timing of events can be different: as they are, unchanged, abbreviated and extended. Unchanged means that, in contrast to other works, historical novels are presented in chronological order. Even if the date is not specified, the events take place sequentially. Therefore, the concept of time in historical novels differs from others. In abbreviated historical novels, the narrator narrates the events without following the sequence in the historical novel, shortens instead of reflecting everything, some events are not reflected, only the main ones are conveyed to the reader:
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"On the afternoon of the third day, the army of Gil-zilbash entered the fortress, and by evening, the Shir-vanshahs palace and the Maiden fortress were in their hands. The treasure was also captured. The gates of the castle were wide open. Ismail entered the city on top of Qizilgand..." (6, p. 321). The description here shows that the events were shortened, the writer did not need to express what happened during this period, as his purpose is not to reflect the battle scenes of Shah Ismail, but to present Ismail as a personality. Thus, the writer makes time abbreviations knowingly - thoughtfully, which depends on the purpose of writing the work. In contrast to the shortened time, in the extended time, the events are not in the form of a few sentences, with abbreviations, but more broadly, with additions. There are many scenes like this in the work "Khudafarin Bridge". Sometimes there are even the ideas in the events about the future. Time stops and the image returning to the past plunges into memories. By adding time additions, the writer expands the work. In this expansion, mostly past time is reflected. Returning to the past the writer's goal is to clarify the past of the event told in the work.
During the period of independence, the reference to the past became intensive, and the historical time factor increased in artistic thinking. The difficulties in addressing history and the past during the Soviet era became one of the main factors of freed artistic thought. In these works, both millennia of history are referred to, and light is shed on problems that have not yet been mentioned and were prohibited to write about. The times of different eras are depicted in works such as "My Dying World" by I. Shikhli, "Doctor N." by Ch. Huseynov, "The Peak of Death" by S. Rustamkhanli, "The Devotees", "Poet and Evil", "Messenger of the Heart" by N. Abdulrahmanli and other works. Elchin's works "Death Sentence", Gumral Sadigzade's "The Last Destination Was Khazar", "My Unfortunate Brother" reflect the anomalies of the period of repression of a specific period in the context of time. The last period of development of Azerbaijani historical novels determines a new stage of its development. The reason for this was the liberation of literature from socialist realism and ideological shackles. Literary critic Yavuz Akhundlu, considering that Azerbaijani historical novels have recently undergone a unique development, en-
riched with new themes, problematics and artistic merits, writes: "Especially a number of topics that our prose did not pay attention to until recently have taken an important place in the literary process of the last period. Important events and outstanding personalities of various stages, which were somehow forbidden to be touched upon in our literature during the Soviet era, have now been brought into the spotlight" [1, p. 521].
There is time for every work. A work can be wider or shorter than another similar work. But there are three times in each of them. The only difference is in the time of the event and the time of writing. For example, in the works of F. Karimzade, A. Jafarzade's "Baku-1501", A. Nijat's "The Gizilbash", K. Abdullah's "Unfinished Manuscript", the time of the event is the same. N. Ab-dulrahmanli's "Messenger of the Heart" and E. Huseyn-bayli's "The Thirteenth Apostle - 141st Don Juan" novels also have the same time. Such examples can be cited a lot. However, these time identities do not coincide with the time of description of events, and each writer describes his own sequence of time and space.
References:
1.Akhundlu Y. Historical Novel of Azerbaijan: issues, problems. - Baku: Adiloghlu,- 2005, - 596 p.
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